M. Thomas Inge – författare

When A Connecticut Yankee at King Arthur's Court was published in 1889, Mark Twain was undergoing a series of personal and professional crises. Thus what began as a literary burlesque of British chivalry and culture grew into a disturbing satire of modern technology and social thought. The story of Hank Morgan, a nineteenth-century American who is accidentally returned to sixth-century England, is a powerful analysis of such issues as monarchy versus democracy and free will versus determinism, but it is also one of Twain's finest comic novels, still fresh and funny after more than 100 years. In his introduction, M. Thomas Inge shows how A Connecticut Yankee develops from comedy to tragedy and so into a novel that remains a major literary and cultural text for new generations of readers. This edition reproduces a number of the original drawings by Dan Beard, of whom Twain said `he not only illustrates the text but he illustrates my thoughts'. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

[The] essays are generally very well done, providing excellent and succinct overviews of such areas as Westerns, detective novels, comic books, and writing for children and young adults. Library JournalOn the whole the essays are informative and analytical. The bibliographies range from two pages for the children's series, `Big Little Books,' to 11 pages for `Detective and Mystery Novels' and contain material published as early as 1856 as well as material published in 1987, so coverage for the purposes of scholarly research is broad. Reference Books BulletinThis collection of bibliographic essays is designed to serve as a reference to the existing commentary and scholarship on the main forms of past and present popular literature. It consists of essays on many of the popular genres including detective and mystery novels, Westerns, science fiction, romance and gothic novels, comic books, and writing for children and young adults. Each essay surveys the historic development of the genre and presents a critical guide to the reference works on the subject. Also included are a discussion of research centers and collections of primary and secondary materials, an evaluative overview of criticism on the subject, and a checklist of works cited and journals in the field.This is the first volume to provide bibliographic access to information about the major forms of popular literature in the United States. Increasing reader demand for these popular genres and the growing trend whereby writers of serious fiction are 'crossing over' into science fiction, murder mysteries, and other popular forms are making it increasingly difficult to distinguish between serious and popular literature. Accordingly, the growing appeal of popular fiction is best understood when placed within the larger context of American literature and culture.

The humor of the Old South -- tales, almanac entries, turf reports, historical sketches, gentlemen's essays on outdoor sports, profiles of local characters -- flourished between 1830 and 1860. The genre's popularity and influence can be traced in the works of major southern writers such as William Faulkner, Erskine Caldwell, Eudora Welty, Flannery O'Connor, and Harry Crews, as well as in contemporary popular culture focusing on the rural South.This collection of essays includes some of the past twenty five years' best writing on the subject, as well as ten new works bringing fresh insights and original approaches to the subject. A number of the essays focus on well known humorists such as Augustus Baldwin Longstreet, Johnson Jones Hooper, William Tappan Thompson, and George Washington Harris, all of whom have long been recognized as key figures in Southwestern humor. Other chapters examine the origins of this early humor, in particular selected poems of William Henry Timrod and Washington Irving's "The Legend of Sleepy Hollow," which anticipate the subject matter, character types, structural elements, and motifs that would become part of the Southwestern tradition. Renditions of "Sleepy Hollow" were later echoed in sketches by William Tappan Thompson, Joseph Beckman Cobb, Orlando Benedict Mayer, Francis James Robinson, and William Gilmore Simms.Several essays also explore antebellum southern humor in the context of race and gender. This literary legacy left an indelible mark on the works of later writers such as Mark Twain and William Faulkner, whose works in a comic vein reflect affinities and connections to the rich lode of materials initially popularized by the Southwestern humorists.

Augustus Baldwin Longstreet (1790-1870) was a lawyer, judge, state senator, newspaper editor, minister, political propagandist, and college president. He was also a writer who published one of Georgia’s first important literary works in 1835, Georgia Scenes, Characters, Incidents, Etc. in the First Half Century of the Republic. John Donald Wade’s biography of Longstreet was first published in 1924 but was out of print during most of Wade’s lifetime. In this 1969 reissue, M. Thomas Inge provides a bibliography of Wade’s published work in addition to an introduction.As Inge notes, this biography was one of the first attempts to assess the cultural background of southern literature and it was the first real effort to investigate the nature of southwestern humor. In the opening chapter Wade announces his theme by saying that the history of Longstreet becomes “an epitome, in some sense, of American civilization.” The biography gradually narrows to a southern focus and as Inge remarks, Wade attempts “to take a panoramic view of the psyche of an entire society through one representative figure.”

Truman Capote once said, ""The thing I like to do most in the whole world is talk ...,"" and talk he does in the more than two dozen interviews collected in this book. The topics are often gossip about the famous people Capote ran with, but always he provides revealing information about his writings--the authors who inspired him, his meticulous methods of research and composition, and his personal reverence for the craft of authorship. He was, as the editor notes, ""fiercely devoted to his art, and keenly aware of his place in the world of letters.""While his detractors, such as Ernest Hemingway and Gore Vidal, spoke out long and loud against the feisty and media-minded writer from Louisiana, Capote here has the last word. What emerges is a portrait of the author as pop cult figure--unabashed in his pursuit of fame and fortune but unstinting in his devotion to becoming one of America's major prose stylists.These interviews range from the first he granted after the publication of his first novel through his shockingly personal self-interview which appeared at the end of his last major work.

Comics and cartoons are ingrained in American life.One critic has called comic books ""crude, unimaginative, banal, vulgar, ultimately corrupting."" They have been regarded with considerable suspicion by parents, educators, psychiatrists, and moral reformers. They have been investigated by governmental committees and subjected to severe censorship.Yet more than 200 million copies are sold annually. Upon even casual examination BLONDIE, ARCHIE, MARY WORTH, THE WIZARD OF ID, and SHOE--among the many comic strips--will be found to support some commonly accepted notion or standard of society.Why do comics both amuse and arouse controversy? Here is an attempt at an answer in a sharp-eyed comic-book lover's probing look at this step-child genre. He finds comics both loved and hated, relished and sneered at. In their relying on dramatic conventions of character, dialogue, scene, gesture, compressed time, and stage devices, he finds the comics close to the drama but probably closer kin to the movies.

Flannery O'Connor once noted, ""The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down."" Her railroading metaphor wittily captures much of the respect and unease Faulkner's example brought the worldwide community of authors.Few other writers have exerted as profound an influence on literature as Faulkner. Prominent literary scholar M. Thomas Inge documents the scope of his influence in the twentieth century through the words of those writers themselves.This collection of essays offers a survey attempting to capture exactly what Faulkner meant to his literary peers and colleagues both in the United States and abroad. Inge has combed essays, articles, reviews, letters, and comments written by over forty novelists, poets, and playwrights about Faulkner's fiction and the power of his literary accomplishment. Many major American writers sound off here, as well as important figures from France, England, Japan, and South America.Some speak about his technical virtuosity and how this expertise has directly influenced them, and others express the difficulties of trying to escape his example. A few even criticize him for what they see as artistic failures. The variety of responses demonstrate, in any case, that Faulkner created an unavoidable power in his own time and remains a permanent force in literature.

When a writer passes through the wall of oblivion, he will even then stop long enough to write something on the wall, like 'Kilroy was here.'"" William Faulkner was not keen on giving interviews. More often than not, he refused, as when he wrote an aspiring interviewer in 1950, ""Sorry but no. Am violently opposed to interviews and publicity."" Yet during the course of his prolific writing career, the truth is that he submitted to the ordeal on numerous occasions in the United States and abroad. Although three earlier volumes were thought to have gathered most of Faulkner's interviews, continued research has turned up many more. Ranging from 1916, when he was a shabbily dressed young Bohemian poet to the last year of his life when he was putting finishing touches on his final novel The Reivers, they are collected here for the first time. Many of these articles and essays provide descriptions of Faulkner, his home, and his daily world. They report not only on the things that he said but on the attitudes and poses he adopted. Some capture him making up tall tales about himself, several of which gained credibility and became a part of the Faulkner mythology. Included too are the interviews from Faulkner at West Point. Taken together, this material provides a revealing and lively portrait of a Nobel Prize winner that many acclaim as the century's greatest writer. M. Thomas Inge, the Robert Emory Blackwell Professor of English and Humanities at Randolph- Macon College, is the author or editor of more than fifty books in American literature and in American popular culture.

Through his comic strip Peanuts, Charles M. Schulz (1922-2000) has left his signatures on American culture--Lucy's fake hold for the kickoff, Linus's security blanket, Charlie Brown's baseball team that never wins a game, and his everyman cry of ""Good Grief!""When Schulz died February 13, 2000, the eve of publication for the last Sunday strip he would draw, the world mourned the passing of a gentle humorist and minimalist innovator, a comic strip artist who had become one of America's major pop philosophers, theologians, and psychologists in the last half of the twentieth century.Charles M. Schulz: Conversations reveals that man, open and warm once a conversation began. During his career, his little kid characters and Snoopy and Woodstock appeared for 355 million readers in 2,600 papers in 75 countries, in 30 television specials and four feature films, and in an off-Broadway musical. Selected from over 300 interviews published between 1957 and the present, this collection serves as a celebration of the popular strip's 50th anniversary on October 2, 2000, and as a lasting tribute to the man friends called ""Sparky.""Schulz talks at length about life, theology, sports, the art of the comic strip, and the human condition in general. He ruminates as well on the origins and the importance of Charlie Brown, Lucy, Snoopy, and friends as icons of the American imagination. America's most universally admired and respected comic artist talks about how his own life and insecurities have inspired some of his finest moments in comic strip history. Until Schulz's retirement, he never missed a deadline and was totally responsible for writing, drawing, and lettering the feature every day, a record matched by no other cartoonist in newspaper history.Including dozens of classic Peanuts strips, this volume suggests that if we had only one artifact for deposit in a time capsule, something to tell future historians what life in the late twentieth century was all about, we could do no better than to enclose a complete run of Peanuts.

It was none other than Langston Hughes who called Oliver Wendell Harrington America's greatest black cartoonist.Yet largely because he chose to live as an expatriate far from the American mainstream, he has been almost entirely overlooked by contemporary historians and scholars of African American culture.Born in 1912 and a graduate of the Yale School of Fine Arts, he was a prolific contributor of humorous and editorial cartoons to the black press in the 1930s and 1940s, but he achieved fame for his creation of a cartoon panel called Dark Laughter, a satire of Harlem society and featuring Bootsie, a character in the tradition of the wise fool. Bootsie became widely known and loved wherever black newspapers appeared.For airing strong anti-racist views, Harrington was targeted during the McCarthy era. And in 1951, he was self-exiled in Paris. In 1961, he found himself trapped behind the Berlin Wall. But, he chose to remain in East Germany. His powerful political cartoons were published in East German magazines and in the American Communist newspaper The Daily World. He became a favorite among students and intellectuals in the Eastern Bloc. In America he was mainly forgotten.Here, selected from the Walter O. Evans Collection of African-American Art, is an omnibus of Harrington's best cartoons from the past four decades. It highlights his exceptional talent, his potent impact with editorial comment and social criticism, and his deserving of acclaim in his native land.

The original essays gathered in this book make a beginning at exploring the cultural significance of The Name of the Rose in terms of its backgrounds and literary contexts. Eco's novel is examined in the light of several of the traditions from which it draws: theories of detective fiction, comedy, postmodernism, the apocalypse, semiotics, and literary criticism. The authors from a variety of language disciplines frequently draw on Eco's own scholarly commentaries to elucidate the novel. The Name of the Rose was published in English in the United States in 1983 and remained on the best-seller list for forty weeks. Paperback publication rights brought the highest price ever paid for a translation, and in 1986 it became a major motion picture. Written by a distinguished professor of semiotics at the University of Bologna, the novel was an immediate bestseller in Italy in 1980 and was subsequently translated into twenty languages to universal acclaim.The question all this raises is, how can such a novel be so popular--a detective set in a medieval monastery, which entertains at the same time as it deals with theology, history, politics, humanism, comedy, literary criticism, and just about everything else that makes up culture and society? Is it possible that a popular piece of fiction, accessible to general readers, can also address complex and profound ideas? This volume of essays on the celebrated novel is the first of several books to be written in appreciation of Eco's remarkable accomplishment. It has the distinction also of including a foreword written by Eco himself in response to the essays, certainly one of the few times when the author has agreed to critique his critics. In addition, this collection contains a bibliography of Eco criticism.Just as The Name of the Rose has something for everyone, so too does this book of critical essays. Scholar, teacher, student, and general reader alike will benefit from the light it casts on a contemporary literary phenomenon.

Will Eisner's innovations in the comics, especially the comic book and the graphic novel, as well as his devotion to comics analysis, make him one of comics' first true auteurs and the cartoonist so revered and influential that cartooning's highest honor is named after him. His newspaper feature The Spirit (1940-1952) introduced the now-common splash page to the comic book, as well as dramatic angles and lighting effects that were influenced by, and influenced in turn, the conventions of film noir. Even in his tales of crime fighting, Eisner's writing focused on everyday details of city life and on contemporary social issues. In 1976, he premiered A Contract with God, and Other Tenement Stories, a collection of realist cartoon stories that paved the way for the modern ""graphic novel."" His 1985 book, Comics and Sequential Art, was among the first sustained analyses and overviews of the comics form, articulating theories of the art's grammar and structure. Eisner's studio nurtured such comics legends as Jules Feiffer, Wally Wood, Lou Fine, and Jack Cole.Will Eisner: Conversations, edited by comics scholar M. Thomas Inge, collects the best interviews with Eisner (1917-2005) from 1965 to 2004. Taken together, the interviews cover the breadth of Eisner's career with in-depth information about his creation of The Spirit and other well-known comic book characters, his devotion to the educational uses of the comics medium, and his contributions to the development of the graphic novel.